{"id":71,"date":"2025-12-29T11:33:58","date_gmt":"2025-12-29T11:33:58","guid":{"rendered":"https:\/\/fondsdedotationlinevautrin.fr\/?page_id=71"},"modified":"2026-03-24T16:49:08","modified_gmt":"2026-03-24T16:49:08","slug":"presentation-1","status":"publish","type":"page","link":"https:\/\/fondsdedotationlinevautrin.fr\/en\/presentation-1\/","title":{"rendered":"The Artist"},"content":{"rendered":"
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The Artist<\/h1>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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At eighteen, she designed costume jewelry; at twenty, she was famous in Paris and then around the world because she created buttons that were each an object, a piece of jewelry, a work of art.<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Her little boutique on Faubourg Saint Honor\u00e9 is always busy. People copy her, envy her, and snap up her first earrings, powder compacts with cryptic designs. In the great shortage of raw materials that followed the war, she searched relentlessly and discovered a resin-based material, which she patented and which could be molded to her every whim. But she shied away from a future devoted solely to the glory of the button: she loved things that were large, and people wanted to confine her to the palm of their hand. She then turned her attention to decorative objects. She left the Right Bank and moved to Rue de l'Universit\u00e9. Fascinated by mirrors, she created extraordinary ones that she set in precious frames, sparkling with shards of ice.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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1988<\/strong> \u2013 David Gill Gallery, London<\/span><\/p>

1990<\/strong> \u2013 Comme des Gar\u00e7ons, Tokyo<\/span><\/p>

1992<\/strong> - Grand Prix des M\u00e9tiers d'Art<\/span><\/p>

1993<\/strong> - Knight of the Order of Arts and Letters<\/span><\/p>

1995<\/strong> - Gallery des Hauses Bergdorf Goodman, New-York<\/span><\/p>

1998<\/strong> - Galerie Aline Chastel - Laurent Mar\u00e9chal, Paris<\/span><\/p>

1999<\/strong> - Mus\u00e9e des Arts d\u00e9coratifs, Paris<\/span><\/p>

2015<\/strong> - Christie's sale, Paris<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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We always find her personal symbolism in her objects (suns, planets, cosmic games, or more modest evocations of trees, flowers, or leaves). And her creations always remain optimistic and invigorating. There is a richness of expression in them that sometimes goes against the grain of the times. Line Vautrin remained aloof from fashions, which she mistrusted. Among 20th-century objects, hers undoubtedly occupy a special place: precious like jewels, composed like works of art, they are the offspring of a given material and technique. This is what makes them profoundly original.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t\tMaison Fran\u00e7aise, February 1962, N\u00b0 154, \"L'univers de Line Vautrin. Her boutique on the Left Bank\". <\/span>\t\t\t\t<\/div>\n\t\t\t\t
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\"I always had a 10 because I didn't move; I also belonged to the clan of those \"who are in the moon\" and whose quarterly report cards are embellished with a \"could do better\". My school life was governed by a virtual triad: intuition, imagination and snoozing. Eventually, I was taken out of school.\"<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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\"What more can I say, except that I love renewal, that it corresponds to my inner life?\"<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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